Next-generation Analog Summing The Dangerous Music 2-BUS+ is a 2U, 16-channel analog summing mixer with both XLR and D-sub inputs. It raises the bar on its legendary 2-BUS predecessor with even lower crosstalk, distortion, and noise floor performance, along with stunningly precise sound staging and center focus. Dangerous spent over two years developing three onboard audio processors that, with a simple push of a button and twist of a knob, add tone and color to your stems or across your entire mix directly from the 2-BUS+. The 2-BUS+ is smartly designed, extremely useful, and sounds incredible.
Dangerous Music 2-BUS+ Analog Summing Mixer Features: - Stunning 16-channel analog summing mixer injects your mixes with exceptional headroom and dimensionality - 3 analog options (Harmonics, Paralimit, and X-Former) for adding tonal coloration to your mix - XLR and D-sub input connectivity and flexible routing allow for a customized workflow - Integrate your outboard gear easily with the switchable stereo analog insert - Output control is stepped in 0.5dB increments for perfect recall-ability - High-quality components ensure audiophile-grade sound
A trio of custom audio processors In sync with Dangerous Music's doctrine of tonal coloration as a per-project artistic choice, the 2-BUS+ features three separate custom audio processors that selectively add tone and color to your mixes. In parallel processing mode, you can deploy Harmonics, a tuned harmonic distortion generator, and Paralimit, a FET limiter on steroids. At Sweetwater, we've applied both of these across stereo mixes and on pairs of stems. X-Former kicks in a pair of custom transformers with core-saturation control on your stereo mix-outs. You can have all three tone processors active concurrently, and you can flip the order of signal flow through distortion and limiting.
Outstanding flexibility Dangerous Music knows that each engineer — and session — is unique, so they designed the 2-BUS+ for outstanding professional flexibility. They spec'd it with an XLR stereo insert before the outputs for adding a separate compressor or processing chain that you can bypass at the touch of a button for quick reference comparison. Channels 1/2 and 9/10 can be set to mono to rout; for instance, vocals/bass and kick/snare each to its own mono input. They also gave the 2-BUS+ an output control stepped in 0.5dB increments from -4dB to +6dB, and included XLR connections for both the main and monitor outputs.
Gang 'em for high channel count Need a full-on analog "console" summing experience? Gang together multiple 2-BUS+ units via the stereo expansion inputs XLR to create a customized channel count. For the ultimate in tonal flexibility and control, the custom audio processors on each unit apply across the ganged group output. With three units, for instance, you'll have 48 channels of analog summing, with the first two units employing Harmonics (distortion), and Paralimit (limiter) across two separate stereo stems, and the third unit applying X-Former transformer saturation on the master stereo outputs.
What the pros are saying about the 2-BUS+: "The Paralimit and X-Former appear to be magic knobs. Special mention goes to the Paralimit because it does that lovely thing of bringing up the general ambiance without slamming the track, something I particularly love on drums. Plugged it into my system along with my old 2-BUS and Dangerous MONITOR ST, and wow ... it's fantastic! Bags of air and space around the mix." — Chris Blackwell (drummer/composer) "Since the 2-BUS has so much headroom, it's really easy for me to decide that I want the entire vocal submix to be brighter or warmer, or more or less compressed." — Michael James (producer/mix engineer) "The Dangerous Music 2-BUS is one of the reasons my studio delivers a killer sound that grants the edge on the competition." — Alberto Rizzo Schettino (engineer) "Between SSL, in-the-box, and 2-BUS ... in blind tests ... it was a unanimous decision that the Dangerous mixes beat out everything. The 2-BUS mixes ... were simply cleaner and warmer than the SSL or in-the-box mixing ... I just don't miss my console." — Gina Fant-Saez (mix engineer) "With the 2-BUS LT, elements have their own place. You end up with a quicker, bigger mix and retain a more natural, less processed sound." — Phil Greiss (producer/engineer) "The Dangerous Music equipment is the centerpiece of my mixing rig. Everything I do goes through a Dangerous MONITOR, 2-BUS, MASTER, and BAX EQ. Everything." — Fab Dupont (mix engineer) "I don't understand how the 2-BUS has been in the studio for so long, but hasn't gotten to live shows — the sound is unbelievable." — Horace Ward (FOH engineer) "The harmonic and transformer flavors are great options to have and the parallel limiter is a genius idea." — Chris Tabron (producer/mix engineer)
